By Literarysins
Hello! So there was this big kerfluffle over what cultural appropriation is or isn’t, who is doing it, and why is it so bad anyways. Mod 1 got a little frustrated with people being full of death threats and such (tsk. Would your mother/father/kindergarten teacher approve? No? Then don’t do it), so I volunteered to help make a post about it.
This will not be your usual Tumblr Social Justice post. Where we go from here will have to do with your feedback, your questions. We want to discuss this and are open to opinions on all sides of the question.
Note One: So often, people get defensive when accused or called out on cultural appropriation. If this is you, and you’re all “What the hell, my intent wasn’t xyz, how dare you accuse me, of course I can wear whatever I want…”
WAIT. KEEP READING.
I promise, you aren’t a bad person automatically for appropriating someones culture without knowing it, and no one’s calling you as such. There are systems in the US that specifically let you benefit from someones culture, while actual members of that culture don’t. It’s racism, institutionalized, and you probably didn’t even know it was a thing unless you’re a PoC, been in certain sections of Tumblr, or you’ve taken a Race Studies class in college.
Keep reading, so you can learn how to appreciate someones culture without being damaging!
Note Two: Something that I often notice, along with people getting defensive, is a lack of understanding. Almost, willful ignorance. I guess I want to use this note to emphasize the need for compassion for people with cultures other than your own in oppressive situations.
Sometimes people get caught up in the politics of it all, and forget that there are real people with real injuries (that impact their life spiritually, monetarily, and otherwise).
It’s not just some “lefty liberal thing”. It’s being compassionate towards other people and remembering that they aren’t “token xyz”, but real people with real lives that are affected daily by structural injustice.
OKAY. So. Onward.
Hang on. Why are you posting about this on a fashion blog, I came here for clothes not ethics lectures!
Rest assured, there is plenty of awesome non-western historical fashion posts with clothes coming up. But cultural appropriation is a huge issue when it comes to non-western fashion (as the West is currently in a situation of great power). The contexts of these pieces of clothing are as important as the clothes themselves. And knowing how to appreciate them without hurting anyone in the process is important.
What is Cultural Appropriation?
Cultural appropriation is the taking of pieces of a minority culture by a culture in the majority, which commodifies, invalidates, homogenizes, romanticises, or otherwise misrepresents the culture in the minority.
Example 1: White girls wearing Native American or First Nation Headdresses and other Native clothing.
The reason this isn’t a good thing is that
1) Not all Native Americans or First Nation people wore the same things, seeing as there were hundreds of different tribes spread over an entire continent.
2) Many pieces of clothing that you see in ‘Native’ photo shoots are ceremonial, with specific spiritual meanings for the people of that culture. War bonnets are earned through acts of bravery in battle. To wear them would be like… wearing a medal awarded during war, outside everyday, that you hadn’t earned. Disrespectful, right?
3) It is often represented in a romanticized context (in a photo shoot, for example) such as this one:
(thanks to this-is-not-native.tumblr.com)
For instance, headbands were made popular by old Westerns, in which they helped keep the wigs on non-Native actors playing Native Americans. The wearing of these and calling it “Native” reinforces racist stereotypes.
It also reinforces the idea that all Native Americans are dead and gone, which simply isn’t true.
4) Despite protection laws, many of these “Native” items aren’t even made by Native people— they’re mass-produced, incorrect facsimiles.
Example 2: Romani Culture
Along with the surge of ‘Native’ fashion, ‘G*psy’ fashion has become a thing— in stores like Free People, Urban Outfitters, etc.
Like with ‘Native’ fashion, ‘G*psy’ fashion not only includes a slur (yes, g*psy is a slur, it is used in the UK especially, and is the foundation of the term “g*pped”), its yet another romanticization of a culture that has been oppressed for centuries.
Example 3: Non-Indians wearing bindis/saris
This has also been a trend in recent days, with people like Selena Gomez putting on bindis. But again, bindis have a specific connotation depending on where in India you’re from.
If a white girl goes out wearing a bindi, she might be considered trendy or fashionable.
If an Indian girl goes out wearing a bindi, she might be insulted, made fun of, or otherwise treated differently.
See the problem? Reina Lewis describes this as “sartorial tourism”, in which European/American women dress as other cultures, “predicated on an implicit reinvestment in the very boundaries they cross. Clothes operate as visible gatekeepers of those divisions and, even when worn against the grain, serve always to re-emphasize the existence of the dividing line.”
So basically, when you say you’re “appreciating the culture”, you’re actually reinforcing your society-assigned superiority. Which I assume you didn’t go into this wanting to do.
But I’m appreciating the culture!You should! Different cultures are awesome. But there are ways to do it which supports the culture you’re appreciating. By thoroughly researching the culture, you can a) gain a better understanding and appreciation of the culture of your interest, and b) avoid giving a metaphorical kick in the face to people of that culture.
But how do I do that without culturally appropriating?Let’s go back to the “white girls wearing headdresses” thing. So we can agree that headdresses (or the facsimiles of the ceremonial wear of some Plains tribes in North America) are awarded by the tribe for acts of bravery, and shouldn’t be worn by white people (as if it was a war medal one hadn’t earned). Great. But that doesn’t mean you shouldn’t buy Native art, that is on sale, made by Native Americans/First People. Plenty of Native artists make gorgeous jewelry that they do sell.
Similarly, if your friend (who is Indian, or marrying someone whose an Indian) asks you to wear a sari in their wedding, that’s their prerogative, and not cultural appropriation.
A good basic checklist is,
– “Did I buy it from someone a part of that culture?”
– “Would I be embarrassed to be seen by a person of this culture right now?”
– “Do you know the context of what you’re wearing?”
– “Why are you wearing it? Is it because it’s ‘exotic’ or because you’re bored?”
-”Is the context in which you’re wearing it appropriate?”
But I’m a person of color, can I culturally appropriate?Well, yes. But even though it’s possible, it’s especially egregious when white people do it. This is because of the drastic power differential between the white Western world, and its history of imperialism, colonialism, racism, and genocide, which is why this post is mostly directed towards white people.
Don’t get me wrong, you definitely can, and this still applies to you, but you are in a different place on the power structure (unfortunately), and so this is still mostly directed at white people.
But in India/China/xyz, they’re trying to appropriate Western culture!This is best refuted by the brilliant shakepaper, who wrote:
Cultural appropriation cannot happen horizontally when power is not distributed horizontally.
That is, the context of Western people taking Eastern traditions is different than the other way around. It’s important to look at the context, the history, and the power structure when you look at these issues. The reason many people in the East are wearing Western clothing, is because of colonization. Even in the West, when the United States expanded West, they stole Native children, forced them to stop speaking their language, wear Western clothing, and abandon all things Native.
Forced assimilation is not appropriation.
Another point also made by shakepaper is that it doesn’t have to be so blatant as putting children into schools that deprive them of their culture. Their example is business suits. Business suits, in most peoples minds, equals a necessary uniform to get into the white collar work force. This implies that a person’s native clothing, whether it be a hijab, sari, qipao, etc., is devalued and ‘uncivilized’ and unfit to work in, when in fact people have been wearing different types of clothing for hundreds of years, and worked just fine.
——-
Questions? Comments? Shoot them to our inbox. Our next post will be based on your feedback!
Hate? Well, screw off. No but actually if you need to send aggressive hate, send it towards literarysins.tumblr.com (new mods main account). Do us the favor. Please.
Sources, Referenced Directly and Indirectly:
But Why Can’t I Wear a Hipster Headdress?
When I Ask You Not to Use the Word G*psy
Critical Fashion Lovers: A Guide
Native Cultures and Hipsterism
On ‘Reverse Cultural Appropriation’
Tips on How Not to Culturally Appropriate
What’s Wrong with Cultural Appropriation Anyways?
Thanks to: penrose-stairs and watchcrafter
More on the Grammar Discussion
Becoming an Editor, Part 1
by This Crazy Industry (March 26, 2005)
Because it comes up frequently in my various editorial forums, I’ve decided to put all the tips I have for breaking into the editorial profession in one place.
Disclaimer: Because there’s no single definable path to professional editorship, it’s entirely possible that none of these observations or tips apply to your situation. I’m writing from my experience. Please feel free to add your own in the comments.
I asked the same question, back when I was trying to figure out what to do with myself. I was sitting having a coffee with a friend who was a freelance editor, and asked her “So, if I were to want to become an editor, how would I go about it?”
She replied “Well, there’s no real way to become an editor. You do some editing, and eventually you hang out your shingle and say ‘I’m an editor!’ and people give you work.”
I didn’t find this at all reassuring. I wanted a clear path—something like “get a junior job at a publisher, and start off proofreading, or counting words, or something, and you’ll get to watch Real Editors at Work, and learn.” I still think it would be nice if it worked that way. I’m told in some cases it does. But for every editor I meet who found an entry-level job at a publisher, and followed a clear path, I meet at least a dozen others whose paths, like my friend’s, and like my own, weren’t that direct.
As I went about becoming an editor, I learned the truth behind what sounded like truly Belgian waffling to me when my friend said it: There’s no way a person becomes an editor. One simply decides that one is, and sets about doing it.
Becoming an Editor, Part 2: What We Do
Writing Process Meme Time!
Inspiration
1. Where do you get story ideas?
2. Once you have a story idea, how do you record it (e.g. write furious notes on your phone, write key words or phrases on a piece of paper to stash away for later)?
3. Do you keep a list or notebook or document of ideas?
4. Do you use prompt lists or memes to get you started?
Planning
5. How do you choose your next writing project?
6. Do you have multiple WIPs going at once, or do you wait to finish one before starting another?
7. Do you use outlines to plan your writing?
8. Do you graph your writing?
9. Do you use jotting or freewriting?
10. Do you start writing with your plot fully formed, or do you tend to write your way toward it?
Writing
11. Where do you do most of your writing (e.g. coffee shop, quiet room, park bench)?
12. How do physically write your story? Do you use a computer? Hand write, then type it up?
13. When writing, do you start with the beginning? Or do you jump around the story as you work?
14. Do you use music when you write?
15. Do you do research as you need it, or do you do most of your research ahead of time?
16. Do you write all in one go, or write in smaller bursts over time?
17. How do you get past difficult sections or writers’ block?
18. What are your writing rituals?
19. How do you deal with distraction when writing?
20. Do you use any writing resources as you write? (blogs, books, character development tools/advice)
21. At what point do you share what you’re working on? Do you share as you go, or wait until you are done writing?
22. Do you set wordcount goals as you write?
Editing Process
23. Do you edit while you write?
24. How would you describe your personal editing process?
25. Where do you focus most of your editing efforts?
26. Does your editing tend to involve more smaller changes or major rewrites?
27. Do you use a beta? One or multiple betas?
28. If yes, what is your process for working with your beta(s)?
29. How long do you wait until you start editing/having someone else edit?
30. Do you use editing communities?
How to Structure A Story: The Eight-Point Arc
Follow the link to get all the goodies.
A Few Quick Resources on Explosions
Anonymous asked: In my story, one of my main characters in in a building when it explodes and another is outside. I’ve tried to search the effects and damages done by explosions, but all I’m finding is stuff about nuclear bombs. I’m looking for information on much smaller explosives. Do you have any references or tips? (I love your blog, by the way)Thank you! We actually do have a few ideas on how to get some solid information on explosives!
If you have Netflix, try looking into the Mythbusters collection on explosives. They talk a lot about shrapnel and shock waves and other aspects of an explosion that many writers (especially those in Hollywood) often omit. Here are a few good myths to check out:
- Water on Grease Fire Creates Fireball
- Exploding Gas Tank
- Gas Rocket
- The Hindenburg Disaster
- Car Grave
If you wanted to talk to an expert (which I highly recommend), look for people online or in your community who have the sorts of jobs listed below and set up an interview with them (over the phone, through email, or in person) to get your burning questions answered. If the people who do these jobs can’t get you the answers you need, they’ll definitely know where you should look.
- EOD Technician
- PSBT Technicians
- UXO Technicians
- Firefighters
- Fireworks Technicians
- Munitions Experts
The Big Bang. A History of Explosives by G.I. Brown is also a great resource for information about the effects and history of explosives.
And here are a few online resources for learning more about explosives:
- TVTropes: Stuff Blowing Up
- Wikipedia: Explosion
- The Anatomy of an Explosion
- The Explosion Victim Resource Center
- ProcessOperations: Explosions
- Different Types of Explosives
Thank you for your question! If you have any comments on this post or other questions about writing, you can message us here!
-C
A Quick and Dirty Guide to Universal Conflicts
So, with that earlier post about antagonists versus villains, a lot of people brought up the idea of making a post about the different types of literary conflicts. And because I’m avoiding making character sheets, I thought I’d do just that.
There are seven predominant types of universal literary conflicts in fiction. You may have heard about them in your English class; they’re also known as the “Man vs. ______” conflicts. Basically, it’s your protagonist against whatever is keeping them from what they want or need to do. The types are as follows:
- Man vs. Man. This is one that’s pretty universally recognized. Good guy against bad guy (not like that). The protagonist has to go toe-to-toe with another one of his kind in order to get the outcome he wants. Examples: Harry Potter vs. Lord Voldemort, Randle McMurphy vs. Nurse Ratched, Hamlet vs. Claudius, Captain Kirk vs. Khan, The Doctor vs. The Master, Sherlock Holmes vs. Professor Moriarty.
- Man vs. Nature. The protagonist is fighting against a force of nature, such as a natural disaster, the environment, or an animal, usually for survival. Examples: Christopher McCandless toward the end of Into the Wild, 127 Hours, Jaws, The Old Man and the Sea
- Man vs. Society. The protagonist is fighting against the society they’re in. Maybe they want their freedom, or they want the rules changed, or they want the society itself gone. These are your rebellion-type stories. Examples: 1984, The Help, Atlas Shrugged, V for Vendetta, One Day in the Life of Ivan Denisovich, Fahrenheit 451, and One Flew Over the Cuckoo’s Nest also works here.
- Man vs. Self. The protagonist is struggling with some internal conflict, sometimes a moral battle of doing the right thing, sometimes over an important choice. Examples: The Catcher in the Rye, The Great Gatsby, A Separate Peace, The Picture of Dorian Gray, If I Stay, Strange Case of Dr Jekyll and Mr Hyde
- Man vs. Supernatural. The protagonist is up against something beyond the realm of what is normal or possible, like ghosts, demons, or aliens. Examples: Ghostbusters, The Lord of the Rings, The Odyssey, Artemis Fowl, any episode of Doctor Who, anything about zombies, and any story in Greek mythology dealing with the gods. (Of which there are many.)
- Man vs. Fate. The protagonist is fighting against a seemingly inevitable choice or destiny. They’re the Chosen One, and they’re railing against it. Examples: Slaughterhouse-Five, Harry Potter, Aragorn throughout LOTR, Amelie, Pocahontas, Romeo and Juliet.
- Man vs. Technology. THE ROBOTS HAVE TAKEN OVER. This is when the protagonist is fighting something…well, technological. Robots, computers, etc. Examples: The Matrix, The Terminator, Frankenstein, 2001: A Space Odyssey, WALL-E, Battlestar Galactica
And there you go. Feel free to correct me on any of the examples. Hope this helps!
– Allie
Describing Characters
This article has some good pointers on things to avoid when describing your characters within your prose.
– Allie
“Show, Don’t Tell” Tips & Masterlist
Hello! I’m having a hard time with my writing. I seem to be having trouble with the whole “show, don’t tell” thing. If you could help me out, I’d really appreciate it. – anonymous
Show, Don’t Tell is simply a way of letting your reader connect to your plot, your setting and your characters better. It enriches your writing, but it also runs the risk of sounding boring to some readers.
First of all, Use it only when relevant and with caution. Overusing this method might make it look like you’re trying to show off your writing skills. But most of all – and this is the real risk of using this method – it make take the focus out of the story and slow down your plot. Specially when you’re writing an action scene, there’s nothing wrong with telling instead of showing. When you need fast-paced narrative, it might be a better idea to keep Show Don’t Tell to a minimum. Also, when there is no reason why your reader needs to connect with a certain place, story or character, don’t shove too much information down their throats. It’s always better to save this method to when it’s relevant.
Now, some real tips on how to master this method:
- Ask yourself what makes you say your character is *personality or physical trait* If you’re creating a stubborn character, ask yourself what makes you say your character is stubborn. In what aspects of this character’s daily life does it show that they’re stubborn? List those aspects, and incorporate them into your scenes – when relevant.
- Appeal to your reader’s senses. This is one of the best ways of putting your reader in your setting. If your character tastes, sees or smells something, let your reader figure out what it is alongside your character. Give your readers enough information for them to perceive the setting just like your character does, instead of simply telling them what’s around.
- Symbolism. Symbolism is a subtle way of showing instead of telling that works really well when you’re trying to hint at something that is going to be disclosed in the future or you simply want to leave your readers guessing. I have a full article on symbolism, that you can find here.
- Back story. Giving your readers a glimpse into what your character’s life or personality was like before your story started is also a way of show don’t tell. It helps your readers understand your characters, their motives and goals better.
- Let your readers judge your characters or settings. To me, this is one of the key points of this method. Try to be impartial when describing a setting or a character (when appropriate), because it helps your readers to form their own opinions. If you describe a certain character’s actions to your reader and leave it up to them to decide if that makes them a reckless, angry, stubborn, prideful, etc character, they will feel more connected and you’ll be a master of show don’t tell.
Also, there are really good resources about it scattered around tumblr – and the internet in general. So I put together a handful of really interesting articles on the matter that might help.
- What The F*ck Does Show Not Tell Mean? – FYWH
- Show Don’t Tell – Personality Traits – My article.
- Show Don’t Tell: A Whiteboard Writing Lesson
- Show Don’t Tell
- Show Don’t Tell: Robert J. Sawyer
- Grammar Girl: Show Don’t Tell
- Show, Don’t Tell
- The First Rule of Writing
- Writing in Pictures using the Show, don’t tell Rule
- Show Don’t Tell – But How?
- The Secret to Show, Don’t Tell
- Writing Tips: Show Don’t Tell
I really hope this was useful! All in all, just let your characters and settings speak for themselves.
Rambles & Rabble 